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Susanne Langer's idea of the primary apparition of music involves a dichotomy between two kinds of temporality: 'felt time' and 'clock time'. For Langer, musical time is exclusively felt time, and in this sense, music is 'time made audible'. However, Langer also postulates a 'strong suspension thesis': the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the 'strong suspension thesis', its philosophic foundation and its implications. We argue that thisdoi:10.33134/eeja.195 doaj:7830de1e05ef420a85499aedd013fd93 fatcat:vgpw5fxsa5a4zoatvgjlx3cqn4